Stern Grove Amphitheater, 2005; courtesy
of the Stern Grove Festival Association
|
August
16, 2015, concludes the 78th Stern Grove Festival—the annual outdoor performing
arts event sponsored by the City of San Francisco—at the historic Sigmund Stern
Recreation Grove south of Golden Gate Park.
As
the season closes, we recall the history of Stern Grove and celebrate the contributions
of the celebrated landscape architect Lawrence Halprin (1916–2009). Halprin’s
design for the 2005 renovation of the Stern Grove Amphitheater has created what
Stern Grove Board Chairman Doug Goldman describes as “a world-class park and performing space.”
BRUSH, MARSH, AND SAND
BRUSH, MARSH, AND SAND
It’s not clear how the Ohlone
tribe used today’s Sunset District during the Native American era
(pre-contact), nor the Spanish and Mexicans during the Spanish-Mexican period
(1775-1847). But when the George Greene family arrived in the peninsula during
the Mexican-American War (1846-48), they saw its value, even as squatters on
part of the Rancho Laguna de la Merced,
a Mexican land grant issued to the Galindo family in 1835. Later the family claimed this
land of brush, marshes, and sand dunes—from Stern Grove to the beach and
including Pine Lake south to Lake Merced.
Sand
Dunes, Sunset District, c. 1900. Photo: private
collection; courtesy of foundsf.org.
|
The
Greenes planted crops and a eucalyptus grove and built the famous Trocadero Inn
(still standing today), which offered among its amenities trout fishing,
dancing, and gambling. In 1916, worried about Prohibition bootleggers, they shut
the lively roadhouse down and made it their home.
DEPRESSION-ERA
OASIS
In
1931, Rosalie Stern purchased the property from the Greenes as a memorial to her
late husband, Sigmund, a philanthropist and nephew of Levi Strauss. She hired
architect Bernard Maybeck to restore the Trocadero and donated the property to
the city, stipulating that it be used exclusively for recreation—“music,
dramatics, and pageantry.” On June 4, 1932, Stern Grove was dedicated as a
recreational site offering free public performances that continue to this day.
(Left) Stern Grove, c. 1931; (right) Trocadero Inn, c. 1936
California Historical Society, CHS2012.944, CHS2012.945
|
(Left) Stern Grove Concert,
1939; (right) Ballet at Stern Grove, c.
1940s
California Historical Society, CHS2012.946, CHS2015.2026
|
Rosalie Stern was
taken with the grove’s natural acoustics on the east side of the property. That
is where, in the 1930s, the Works Progress Administration—the largest of the
Depression’s New Deal agencies—built an amphitheater as a sloped meadow with
low stone walls set among giant eucalyptus, redwood, and fir trees.
REDESIGN
AND RENOVATION
Over the years Stern Grove
steadily declined, a victim of hillside erosion and deteriorating facilities.
In 1999, the Stern
Grove Festival Association commissioned landscape
architect Lawrence Halprin—known for his innovative work in reimagining public
spaces—to design a plan for the amphitheater’s renovation. Halprin, inspired
by the great Greek amphitheaters, terraced the
slope toward the front and fashioned benches out of stepped granite up
the hill.
Lawrence Halprin’s renderings
of the meadow (left) and the stage (right), 2003
Courtesy of the Stern
Grove Festival Association
|
Stern Grove Amphitheater before the Halprin
renovation (left) and in 2005 (right)
Courtesy of the Stern
Grove Festival Association
|
Halprin had first visited Stern Grove in 1954 for
the premier of Anna’s work Madrona.
In 2009, following his renovation (2004–2005), Anna choreographed Spirit of Place. The large-scale work was performed in May of that year in
the new amphitheater as a tribute to
Lawrence for his accomplishment there.
“As soon as I went into that
space,” she recalled, “I was just wow, this is just like the Delphi. You know,
it was so ancient and the rocks just seemed to come right out of the ground and
this scale was just so immense. And yet it was very, what's the word? It was
very generous. It wasn't imposing. . . . I was so inspired that I said . . . oh,
I want to do a dance in that site. But you know what? I want the audience to be
sitting on the stage. And I want the dancers to be where the audience is,
because that's where the excitement is and the inspiration.”
“When I designed Stern Grove,” Halprin told the Cultural Landscape Foundation in 2009, “my intention was to create a mystical place where one would be inspired to reach into oneself. I wanted to design a living theater for everyone to use, a place where people can walk their dogs, picnic, meditate. I wanted a place where lovers could meet and children could play. Such everyday activities are incorporated in the dance choreographed by my wife, Anna.
Lawrence Halprin’s renderings of the entry trellis (left) and
upper seating (right), 2003
Courtesy of the Stern Grove
Festival Association
|
Stern
Grove Amphitheater, 2005; courtesy
of the Stern Grove Festival Association
|
Following Lawrence’s death in October 2009, Anna choreographed the trilogy Remembering Lawrence in celebration of their 70 years of marriage and collaboration. Their collaboration, particularly during the mid to late 1960s, is highlighted in Experiments in Environment, the California Historical Society’s forthcoming exhibition and events project (January 21, 2016–May 8, 2016).
Further Reading:
Choreographing the Environment: The Counterculture of Anna and Lawrence Halprin, by Shelly Kale, July 13, 2015.
Choreographing the Environment: The Counterculture of Anna and Lawrence Halprin, by Shelly Kale, July 13, 2015.
HISTORICALLY SPEAKING — The 50th Anniversary of L.A.’s Watts Riots: Anna Halprin and the Studio Watts Workshop, by Shelly Kale, August 11, 2015.
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